When we come to a consideration of the lower part of each face, we immediately detect differences. While both faces end in an oval, this is broader, heavier, and more bony in that of the _Philandridas_, as we should expect in the case of a more mature man. Consequently here the mouth is larger and firmer. The elegant contour of the lips observable in the _Agias_ is also found, to a less degree, in the head from Sparta, whose lips are fuller and more sensuous, but can not be traced in the _Philandridas_ owing to the damaged condition of the mouth. It is clear, however, that the lips of the latter were also slightly parted, just showing the teeth, but not as in the Tegea heads, as if the breath were being forced through them with great effort. It is, however, in the expression of these two faces that we see the greatest resemblance. In the _Philandridas_, the powerful framing of the eyes, the slightly upward gaze of the balls, and the contracted forehead combine to give it a pensive, even melancholy, look of dignity, a look seemingly of one who takes no joy or pleasure in victory, though, as we have already mentioned,[2163] it is earnest rather than mournful. The almost identical treatment of the eye and its surroundings gives the still more youthful head from Sparta a similar expression. Homolle’s analysis of the expression of the face of the _Agias_ would apply with equal fitness to the mood portrayed in both the heads we are discussing: “_L’expression qui résulte de ces divers traits, c’est, dans une figure jeune et vigoureuse, un air pensif ou lassé, une certaine mélancolie, qui ne va pas à la tristesse morne ou à la méditation profonde, mais qui reste plus loin encore de la joie insouciante de la vie et de la pure allégresse de la victoire_”.[2164] Preuner remarked that a verse of the epigram found on the base of the statue of Agias, which runs καὶ σῶν οὐδείς πω στῆσε τροπαῖα χερῶν, is almost an exact copy of the words of Herakles in the _Trachiniae_ of Sophocles.[2165] In these words the dedicator of the statue ends the recital of his ancestor’s exploits with a melancholy reflection on the vanity of his glory. They suggest with no less truth the expression of both the heads we are discussing. This expression of pensiveness tinged with melancholy is enhanced in both by the slightly parted lips. We can see the same expression carried much further in many of the portraits of Alexander which go back to originals by Lysippos, and we know from Plutarch that this sculptor was chosen by the conqueror to make his portraits, because Lysippos alone could combine his manly air with the liquid and melting glance of his eyes.[2166] But how different is the delicately indicated pathos of these heads from the violent and unrestrained, even panting, expression of the Tegea sculptures! Here there is no trace of the μανία which Kallistratos said characterized the works of Skopas. If it be objected that the expression of the